It’s October: An Update

This year sure has gone fast! I’ve been so busy I’ve hardly had the time to come back and update this blog- or keep you all posted on what I’ve been up to!

First thing’s first: October is going to be a super big and exciting month, so what’s happening?

(1) I’m reading at The Hearth 

Cosy set-up from an earlier Hearth show at The Jade

For those of you who don’t know, The Hearth is a night of creative readings based here in Adelaide, South Australia. I adore all the different spoken word groups here in Adelaide because each of them is so unique. What makes The Hearth stand out is their focus on the writing process. You can check them out here.

I’ll be performing part of an essay all about our relationship with cadavers, including a creepy look at the Capuchin Crypt in Rome, my own experiences in an anatomy lab and how we disconnect ourselves during our encounters with the dead.

If any of that appeals to you, make sure to come along to The Hearth’s ‘Of the Night’ reading night on the 26th of October at The Jade (142-160 Flinders st, Adelaide). The show kicks off at 6pm and entry is as cheap as $5 at the door. I recommend it to writers and readers alike. Not only are you supporting local artists, it’s also just an amazing and immersive experience.

 

(2) I’m helping edit the next Speakeasy Zine

Callout for submissions, design by yours truly

More spoken word related stuff? You bet. Speakeasy is a spoken word group made up of undergrad writers from Flinders University. Every year we run two on-campus reading events, two kick-ass gigs at The Wheatsheaf Hotel in Thebarton, and print two zines showcasing student work.

I love editing the submissions we get for each zine. Almost as much as I love getting together with the Zine making team to put the whole thing together. It’s all glue and glitter and tonnes of scrapbooking paper that goes into producing these little beauties.

If you want to support all the amazing students who share their work in our zine you can come along to our shows and buy them. Our next show is in November at The Wheatsheaf Hotel. More details are on their way so if you’re interested go check us out on Facebook (@speakeasy.creativereadings).

(3) Just one more quick recommendation!

Quart Shorts is another creative readings group here in Adelaide who deserve a shout out. What makes them unique is that they have writers’ work read by actors. This is pretty different to most of the events that we see in Adelaide and that’s what makes them so interesting. It’s a totally different experience both for the audience and the writers whose work is being read.

It’s pretty cool, so check it out. You can read more about Quart Shorts here. Their ‘Spring Shorts’ event is on October 17th at the super cool book bar Biblioteca (1/27 Gresham st, Adelaide).

 

Okay, that’s probably enough of me recommending stuff so let’s move right along to what I’ve been doing lately…

 

(4) I moved house and got myself a nice study

Last month was insane. Mostly because in amongst some friends’ book launch, lots of work drama and tonnes of thesis work I spent a lot of time moving house. The biggest pro of the move was that our new house came with a nice big room that I’ve turned into a study. It’s been years since I last had my own space just for writing/working.

It is super hard to do all of your work from your bed. Too comfy and too conducive to naps. So I was super keen to set up my desk and organise all my writing gear. The set up right now looks like this:

Already I’ve found myself being way more productive. I mean, I did finish writing my novel- but more on that later!

Having a space of your own to write in is, in my opinion, incredibly important. I have everything I need at my fingertips (and not spread all over the bed in a chaotic mess of papers and pens- which always go missing). It also just feels like a more productive space. When I sit down at my desk I have a clear purpose- I am here to write. There’s something psychologically stimulating about the space, something that you just don’t get when you do all your work curled up in bed (comfy as that is).

These last few years of not having a writing space have made me appreciate what I have now so much more. I understand that having a space like this is a privilege not all writers have. Knowing that, I feel like I’m going to use this space as much as I can and get the most out of it. That being said, let’s move on to what is probably the biggest thing to come out of this study so far.

 

(5) I finished writing my fantasy novel

Okay, so maybe it isn’t finished. It’s written. There’s still a lot of editing to do before I can send it out to my beta readers and get their juicy feedback. But the other night I got to write ‘The End’ after 12 years of planning and drafting and generally tearing my hair out.

This book has been one heck of a journey. What started as some doodles and lines written in pencil at age 11 has grown into a sprawling fantasy world full of gods and magic and characters that I adore and cherish. Even with all the work that lies ahead to make this book worth publishing, I still feel like I’ve reached a huge milestone.

The words are all there, I just need to make sure they all make sense. The story is there, I just have to make sure it reads as well as it looks in my head. I’m hoping to really throw myself into the editing process in the months to come. Hopefully at the end of it all I’ll have something I can proudly show off to the world.

I’ll definitely keep you all updated as this thing grows and scrubs up into a fine little fantasy novel.

 

(6) I’m getting published in an actual book

So this one has been in the works for a while. The official launch date isn’t set yet but the book has been sent to print, which is super exciting. A short life writing piece of mine is appearing in Bowen Street Press’s awesome anthology ‘Pulse’.

Hopefully I can make it to the launch and fill you in on all my giddy first-time-in-an-anthology excitement when I finally get to hold the physical book in my hands.

 

I think that’s everything. At least everything that I can reveal as of yet. There is definitely more stuff in the works but I can’t reveal too much *yet*.

Now I open it up to you- what cool stuff are you doing in October? Is there anything you want me to do a blog post on (like the events I mentioned above, more about my novel, etc)? I’d love to hear your thoughts.

Until next time,

All my love xx

Dear YA Writers…

I’ve been reading a lot of YA fantasy lately and while I’ve enjoyed how fun and relaxing they are to read (especially after a tonne of heavy literary books for Uni) I can’t stop noticing some faults that just keep on appearing over and over again. YA is an important genre because it bridges the gap between Teen fiction and Adult fiction. Because of this you’d expect YA books to look at darker topics than Teen fiction while also retaining a fast-paced and interesting plot to keep the reader’s attention. So why is this important and enjoyable genre falling into the same tropes over and over again? 

Today, let’s look at some of my top 10 ‘Things in YA that need to Stop!‘. 

I’ll be referring back to YA fantasy a fair bit because that’s what I read most of. I’ll also use two YA fantasy novels published this year to illustrate how these are all ongoing problems in the YA genres.

WARNING: There may be slight spoilers about ‘Empire of Storms’ and ‘Stealing Snow’ ahead. You have been warned.

Let’s meet our examples:

1. ‘Empire of Storms’, Sarah J. Maas

Published: September 6th 2016 by Bloomsbury Publishing

The fifth instalment of the Throne of Glass series, ‘Empire of Storms‘ sees protagonist Aelin Galthynius struggling to reclaim her throne in Terrassen. Joined by a whole host of companions she heads out on a quest to gain allies to unite against the evil Erawen and secure her throne. She spends much of her journey lusting after her mate Rowan and just being a general arrogant pain in the ass to everyone around her. But they still love her anyway, because she’s Aelin and that means she has to be a great queen, right?

Now, I really enjoyed a lot of the Throne of Glass series (Crown of Midnight and Heir of Fire especially) but as the series has progressed Maas has fallen deeper and deeper into common YA clichés. There’s no doubt that she’s a competent writer, but she’s got a fair bit of explaining to do.

Main faults in this book:

1. Aelin is a thoroughly unlikeable character (in my opinion, anyway). She’s a strong female lead in terms of magical power but she is incredibly arrogant, secretive and often refuses to listen to the counsel of her companions. She can be seen focusing more on her burning desire to go shag Rowan than on her actual quest to save her kingdom and the rest of the world.
2. Everyone seems to need a love interest in this story. All the main companions end up having some kind of attraction to another of the companions. Not only is this unbelievable, it also doesn’t serve any purpose in the story. I often found myself screaming ‘get on with the actual adventure!’
3. Aelin’s love interest exists solely to worship the ground she walks on. This is something that really disappointed me. Rowan was a complex and interesting character in ‘Heir of Fire‘ but somewhere down the line his personality and depth just vanished. He became focused only on Aelin, and usually the raging boner he has for her, leaving his character flat and annoyingly dull.

   ~

2. ‘Stealing Snow’, Danielle Paige

Published: October 6th 2016 by Bloomsbury Childrens

Snow has spent most of her life in a mental hospital in New York. When her fellow patient, and only friend, is dragged through a mirror Snow is determined to save him. Following the instructions of a strange man, Snow escapes the mental hospital and enters a magical world locked in eternal winter. There, she discovers that she has power over- wait for it- snow. Overthrow an evil ice king because a prophecy said so, anyone?

This isn’t a bad book. But it is really, really generic. A lot of the time I found myself certain that I had read this before. Which is why I breezed right through it. But at the end of the day the impression it left was just- ‘meh‘.

Main faults in this book:

1. Snow is essentially yet another ‘chosen one’ heroine whose powers are stronger than any other. Basically- she is a special snowflake (see what I did there?).
2. She meets a boy named Kai who is your average broody YA male love interest. But wait! Snow already has feelings for the friend she’s trying to rescue! (Cue love triangle). But wait again! There’s also this robber called Jagger (cue love square).
3. Is this world she enters medieval? They have battery powered torches and nightclubs but they also use swords and one bad guy is pretty much a walking suit of armour. So, where the heck are we? Not really getting much of an explanation in this book.

~
Now on to the main event…

Top 10 Things in YA that need to Stop!

1. Perfect female leads
   

   Earlier I talked about how Aelin in ‘Empire of Storms‘ is pretty much worshipped by everyone around her. Add to that her beauty and her super OP powers and you have the perfect recipe for Little-Miss-Perfect-Heroine.

   This is something we see a lot in YA. The female heroes especially seem to be easy on the eyes, often hauling in the attention of all the male characters, and so powerful (in fantasy- usually with magic) that they are considered the most special snowflakes in the kingdom/world.

   Not only is this a let down in terms of the characters lacking any real depth or relatable flaws, but it also sends a poor message to young readers. You know, the older teen to early adult demographic YA targets? I don’t know about you, dear reader, but I was never good looking or perfect. I was considered cow’s-arse ugly as a teen and unpopular with boys (not that it bothered me too much given that I was interested in the girls at school rather than the boys). Now, think about how many girls and young women feel the same about their appearance and the way people see them. By showing all these super-beautiful heroines in the spotlight so often YA novels are really not sending a good message.

   Girls and women deserve to see characters they can relate to. Characters whose value doesn’t come from being ‘beautiful’ or ‘perfect at everything’. If anything we should be shifting the standards of beauty by showing that you don’t have to be fair-skinned, platinum blonde and curvy-but-slim to be beautiful or valuable.
   Fortunately this is slowly seeing improvement- especially with the emergence of more POC heroines (because representation matters and girls of every background deserve to have relatable characters in their books). But there is still a long way to go.

   So YA writers: give us all more diverse women- big women, small women, POC women, disabled women, women who do not fit this outdated ideal of prettiness that centres around able-bodied white sex-bombs.

   ~

2. Love Triangles and Love Squares

   Okay, deep breath and repeat after me: ‘women do not need men to validate their worth’.

   With that out of the way, let’s talk about one of the most common elements in YA of all genres. The dreaded love triangle/square. This trope sees our heroine (or hero in some cases, I’m sure) torn between two or more love interests. WHO WILL SHE CHOOSE?! Prince I am really hot and rich or Mr. Rogue stranger with a tragic backstory? Or maybe, worse still, she can’t decide between a hot guy or his EQUALLY HOT BROTHER. Yes, siblings get roped into the trope quite a fair bit (Red Queen, anyone?).

   Love triangles aren’t all bad and if written properly they can be interesting and even enjoyable. However, a lot of the time this isn’t the case. That, and its a trope that is done to death in YA.

   One of the biggest problems is that these love triangles often dominate stories that are not actually romance novels. Furthermore, we often see the heroine viewed as some kind of trophy to be competed for by the men interested in her. Because, you know, that isn’t really sexist or anything.

   

   Every time the MC gets fought over

   Does our heroine/hero really need more than one love interest? Can’t they just be more decisive than that and set their sights on one person? Do they need a love interest at all (if it isn’t a romance novel)? Is a love sub-plot really necessary to the story? Does it add anything to the main story or does it detract from it? Ask yourself these things when you consider putting in a love triangle. Because at this point the trope is so vomit-inducingly overdone that you better have a darn good reason and a bloody good character dynamic to justify having a love triangle in your work.

   On a final note: there needs to be more LGBTQ+ romances in YA. As YA is important for an age bracket that is really discovering who they are and what it means to be them, representation is vital. Normalise queer relationships and show that LGBTQ+ people exist and are just as likely to be main characters and love interests. Same goes for POC characters. I’ve ranted about diversity in fiction  and how to write LGBTQ+ characters before so I won’t go into it more here.

   ~

3. Cardboard cut-out supporting cast

   Ever noticed that male lead one and male lead two seem a lot alike? Almost identical, really. Both hot and troubled and probably a level 50 swordsman.

   Or maybe you feel like bitchy-female rival #301 seems a lot like the rival in another book you’ve read. Maybe even several books you’ve read.

   In YA there seem to be a lot of characters who get about as much fleshing out as a shopping list. They can be done-to-death archetypes or cardboard cut outs of people who only exist to make background noise while the main character continues to be amazing. Not only is this lazy writing, its also super frustrating for the reader. Any character who plays a significant role in the story should have some depth or traits that make them interesting and relatable. They need to be people, not that life-size cardboard cut-out of Benedict Cumberbatch you have sitting in your bedroom.

   The main character cannot be the only one in the story who has more complexity than a fork. Flesh them out, make them interesting, unique. Make them people the reader will grow attached to. And then probably murder them because it’s fun to bathe in the tears of your readers.

   ~

4. Bitchy female supporting characters/female rivalry

   Why are there so many catty female rivalries in YA? Often the women antagonising the MC have no good reason. Or their reason is that they are competing with the MC for the attention of a man.

   Just… don’t. Us girls gotta stick together. Plus, the bitchy female rival thing is overdone and annoying as heck to read.

   ~

5. Generic/Overdone Plotlines
   

   The chosen one, the evil magical king who enslaves the world with his powers, the heroine who just so happens to be the lost princess of a magical kingdom, the quest to find a special object. All of these are common plot elements for YA fantasy stories (and adult fantasy too). Also, they are elements that can be found in BOTH ‘Empire of Storms‘ and ‘Stealing Snow‘.

   Aelin is the lost princess of Terrassen. Snow is the lost princess of Algid.
   Aelin has mad fire powers. Snow has crazy ice powers.
   Aelin is fighting against an evil dark lord. Snow is fighting against an evil magical king.
   Aelin needs to find the Wyrd keys. Snow needs to find the fragments of a mirror.

   These kinds of storylines are everywhere in the YA fantasy genre. After a while these stories all seem to melt together. Even the characters seem to be the same, only with different quirky names. This is a problem that can be found in all genres of mainstream fiction, and it is incredibly frustrating (especially the ‘chosen one’, like for real. Stop.).

   In non-fantasy YA stories we see a lot of coming of age stories that aren’t all that unique. As for LGBTQ+ characters- they seem to just get ‘coming-out’ stories. As if they can’t experience anything else of interest.

   ~

6. Half-arsed world-building

   I said there would be a lot on YA fantasy mentioned in this post and so far I have delivered. A lot of the time the actual setting in these stories seems absent. We get tiny details here and there- there are trees, something about faeries, maybe some hard to pronounce country names. But not much. Nothing that gives the reader any real sense of place. Where are they? What kind of a place is it? Why should we care? Why write a fantasy or sci-fi story at all if the setting is going to be as vague as a freshman English undergrad’s essay?
   Example: Girl walks into a magical world. What we learn is that the trees are blue for some reason and they have fruits that look like bananas but aren’t bananas. Oh, and there’s magic of some kind and witches. Also, cities maybe? And snow… lots and lots of snow.

   

   So, like… where are we?

   Now, its all fine and dandy to describe a bit of scenery but what is the culture like? What are their customs? Where does their magic come from? How does it work?  A lot of the time there is so much that could be shown that isn’t. Everyone just automatically acts like they’re in middle-age England or talk like really modern folks despite living in a feudal society.
   I like stories that mash ye olden days with modern stuff, but it has to be done well. I feel like a lot of YA fantasy brushes over a lot of setting details and it just comes off as a little vague and incomprehensible. The worst are ones that just go with ‘ooh, castles and dragons’ and that’s it. That’s… that’s the whole world.
   I guess this is a bit of a personal preference thing, but I like fantasy and sci-fi settings you can immerse yourself in. You don’t need a ridiculous amount of window dressing or info dumping to get across a complex and interesting world. You just need to make it be there and be understandable to the reader.

   ~

7. Purple Prose and Info-Dumping

   Keira took the dress out of the box carefully, the tissue paper underneath crunching like fresh snow. She unfolded the dress and lay it out on the deep purple plush bed-spread of her four-poster. It was a beautiful dress made of  light blue silk. The edges were trimmed with gold string and a white sash ran around the waist. The neckline dipped rather low and Keira took pleasure knowing that it would show off her cleavage. That would catch Kale and Blake’s attention for sure.

   She could imagine it now, both of them looking at her dressed like a princess. They would fight over who got the first dance and she would let them. After all, she still wasn’t sure which one of them she liked best. In between searching for the magical sceptre of Rooble-doobe and hunting the evil wizard who killed her father, she didn’t get much time to simply be an ordinary seventeen year old girl. Oh how she had always dreamt of having a dress like this. Her sister Polly had owned many beautiful dresses, but Polly didn’t grow up to become an assassin. So she had more time to fill with dancing and dresses and handsome gentlemen. Sometimes Keira envied her but then again, her duty was to her father and to the Faeries of Rooble-Dooble forest.

   But the Rooble-Dooble sceptre could wait. At least for tonight. She deserved this ball after hunting down that legion of demon-toads in the valley of screaming spirits. Now she would take off her heavy leather armour and feel silk against her fair-white skin. Her blonde hair would flow around her shoulders rather than being contained in a tight braid. For just one night she would be beautiful rather than deadly.
   

   Was that as agonising for you to read as it was for me to write? This kind of endless pointless rambling about dresses and balls and so on is rich in YA fantasy. A lot of the time a 700 page book could be trimmed down to 300 pages if you cut out all the purple prose. We don’t need long descriptions of how pretty things were. We don’t need tonnes of filler content before the main character actually gets off their arse and fulfils their destiny.

   Sometimes less is more, and from the YA I’ve read I’d say that a lot of the time less is definitely the way to go. The plot should never crawl to a stand still to allow for vapid scenes that satisfy the fangirl in the writer but does nothing for the actual story.

   ~

8. Slow Pacing

   If a novel’s pacing is slower than a 90-year old grandma on a beat-up mobility scooter, chances are the reader is going to give up at some point and find something better to do with their time.

   There are so many YA books that take ages to get anywhere, often clogging up pages with purple prose and unimportant tosh. It seems like a bit of a con to have a reader get excited about a new 700 page book only to find that only 250 of those pages were actually worth reading, and most of those pages didn’t show up until the end of the book.

   

   Just… keep it interesting

   I feel like slow pacing is something high fantasy and sci-fi can get away with- as long as it is done to build up a world and thus, time needs to be taken to explain things. But in YA the pacing shouldn’t be slow. YA books are good precisely because they don’t involve heaps and heaps of hours of reading time. Slow YA books are just a big no for me. Especially when the slow pacing has nothing to do with world building or anything that actually adds to the story.

   ~

9. Ridiculously handsome, brooding men (Usually more than one)
   

   Ladies aren’t the only ones getting treated as eye candy in YA. The brooding male character is everywhere. Always looking frowny and keeping secrets. Then, usually, kissing the heroine at some point. Sometimes when they barely even know each other, but hey, love at first sight and all that.

   ~

10. Everyone loves the protagonist- even if he/she is a colossal douche-canoe

    Unless your MC craps hundred dollar bills they are not going to be everyone’s favourite person. Having every secondary character get down on one knee and recite poetry to the protagonist is just ridiculous. BUT IT HAPPENS.

    A protagonist doesn’t need to be loveable or perfect or worshipped all through the land. They can be scrappy and unpopular and still win a reader’s heart. In fact, I daresay underdog characters are easier to relate to and love.

    If your MC must be adored at least bother to make them earn that adoration. Don’t just slap ‘sexy’ or ‘banished royalty’ on their forehead and expect that to be enough reason for everyone to start offering to polish their boots.

    ~

What YA tropes and peeves leave you tearing your hair out in frustration? Leave a comment below. For more issues in fiction and what we need more of check out this post. And until next Monday- happy writing!

LGBTQ+ Characters: How you should (and shouldn’t) write them

Thought about adding a little diversity to your writing? Worried that you don’t have what it takes to write LGBTQ+ characters? Well, my friends- its time you gave it a shot.

Disclaimer: This is by no means a comprehensive list of things to keep in mind but it should (hopefully) give you some ideas of what to do (and not do). Also, it is geared mainly to people who do not identify as LGBTQ+- but my fellow queer writers, feel free to join this little voyage (we can always have a rant in the comments about how irritating the lack of representation in fiction is)

Luckily you won’t have to- because you can write LGBTQ+ characters without being queer

*Gif credit: Giphy.com

In General

1. Don’t be afraid to write about characters who are different to you

    

   It might be a little daunting to write about characters whose sexual and gender identities differ from yours. How are you meant to write about something you’ve never experienced? What if you stuff it up and make a fool of yourself? What if the LGBTQ+ community is so infuriated by your portrayal of them that you get hunted to the ends of the earth with torches and pitchforks?Easy now, let’s not get dramatic. If you are straight as a flagpole you can still write characters who aren’t. That’s the brilliant thing about writing- you can inhabit the shoes of a billion different people. The characters you write shouldn’t be a reflection of you and your experiences. In fact, I daresay it would be better to get out of your comfort zone and try to write from a perspective that is entirely different to your own. You’ll learn a lot from the experience and get the chance to see what it’s like to be someone else with their own unique joys, interests and struggles.

   So leave your fear at the door and give it a shot!

   ~

2. When in doubt do your research (or talk to an LGBTQ+ person)

    

   Writers know the importance of doing their research. Writing a story set in Ancient Rome? Better research what it was like to live back then. Writing a story about assassins? Better learn a thing or two about killing (just remember to clear your search history so people won’t think you’re up to something).The same applies to writing LGBTQ+ characters. If you’re not sure that you’re portraying them right- do some research. Of course the best research would be to ask an LGBTQ+ person about their experiences and their thoughts on your questions (make sure to be polite and not intrusive, because no one wants to help someone who is going to be a pain in their ass).
   ~

3. Acknowledge that Cis-gay white men get a lot more attention in books than other LGBTQ+ characters- and this is a problem

    

   I will admit that I lost my sh*t about the 2015 Stonewall movie. The lead was a white and classically Hollywood-style handsome guy. Why is this a problem? Well, besides the movie being historically inaccurate and erasing much of the impact of Trans activists, it also adds to the ever growing list of white cis-gay characters. Of course white members of the LGBTQ+ community deserve representation. The issue is that they seem to be some of the only ones being represented. Where are the POC and non-binary characters?As writers of fiction we should be endeavouring to add more diversity to our stories. People who are often marginalised should be given a voice in stories. Keep in mind the wide variety of people who inhabit the world when you write and try to vary what you write. Because I don’t know about you, but I am getting pretty sick of trawling through books with almost exclusively white, cis and heterosexual casts.
   ~

4. Realise that stereotypes are hurtful, overdone and uninspired

    

   If you’ve ever thought about a Trans person as ‘a dude in a dress‘ or a gay person as ‘a girly boy‘ or ‘a butch chick‘, you are a victim of gross misrepresentation.

   

   Hugh Laurie may be gorgeous in a dress but he shouldn’t be your basis for a Trans character

   The fact is that LGBTQ+ people are grossly misrepresented in the media all the time. Aside from being straight up wrong, these stereotypes are just plain annoying and offensive. The idea that being ‘gay’ or ‘bi’ or ‘Trans’ makes you just a label or an archetypal character to be laughed at is terrible but prevalent.

   When you write a LGBTQ+ character you need to be aware of the kinds of tropes and stereotypes that have been used to label and humiliate real-life people. Having an awareness of this should also keep you from further perpetuating those stereotypes.
   Of course it is fine for men to be feminine, women masculine and for characters to cross-dress but your portrayal of these traits shouldn’t be used mockingly.
   ~

5. Remember that gender is complex and varied

    

   Unless you live under a rock with no Wi-Fi (in which case I wonder how you could possibly be reading this) you’ll have heard people describe gender as a spectrum (newly emerged hermit friends can find out more here). While some people will argue black and blue that there are only two genders, acceptance of people who do not fit the strict male/female binary is growing.The simple fact is that gender is a spectrum. Gender identity plays an important role in shaping a person’s personality and overall identity. Because there are so many ways of being- so many different mixes of gendered qualities- it would be nearly impossible to compile a concrete list of all the genders in the world. But that doesn’t mean writers shouldn’t try to explore even just a fraction of that vast ocean of potential gender identities and expressions.

   Think beyond just men and women. There’s a whole lot more to being human than just one or the other.

   ~

6. Coming out stories are great, but not every LGBTQ+ character needs to ‘come-out’ or grapple with their identity in the story

    

   Coming out stories can be really empowering and important- especially for readers who are figuring out their sexuality or gender identity. But not every story with an LGBTQ+ character should be centred around their ‘coming out’. LGBTQ+ characters should be more than a bunch of one-trick ponies. They should have as many chances as their hetero/cis counterparts to go on adventures, fight villains and generally kick ass.Furthermore, they shouldn’t have to see their identity as a problem. We need more characters who are comfortable in their own skin regardless of their sexual orientation or gender orientation. Those kinds of portrayals are just as important as those of struggle and ‘coming out’. They show that LGBTQ+ people can achieve just as much as anyone else.

   So if you plan on writing an LGBTQ+ character into your story solely for the purpose of ‘coming out’, sit back for a moment and think about the bigger picture.

   ~

7. Don’t forget that LGBTQ+ people are people- and people are more than just their sexuality or gender identity

    

   This. Is. So. Important.
   Token queer characters can be frustrating. No one should be in a story for the sole purpose of being gay/bi/trans/queer. That isn’t representation, that’s just being lazy.If you want to write decent LGBTQ+ characters you need to see them as something more than a label you can stamp onto the page to call your story ‘diverse’. Just like any other character your LGBTQ+ characters need to be fully fleshed out. They need to have hopes, dreams, motivations, fears, joys… they need to be people.

   There is no such thing as a person who is ‘just gay’, just like there is no such thing as someone who is ‘just male’. Write characters with layers. Characters that are complex and interesting not because of their queerness alone.

   ~

8. Remember that sexuality is about more than just sex

    

   Yeah, yeah a lot of us love a raunchy m/m or f/f story. But remember that sexuality isn’t just about having sex. It’s about forming connections, romances, relationships and families too. Some people do just enjoy the sex aspect of their sexuality- and that’s fine. But your LGBTQ+ characters shouldn’t just exist to shag their way through life.And please, no more making bisexual people out to all be be promiscuous (seriously, a lot of us are too lazy for multiple orgies).

   ~

9. Gender identity is about much more than how a person dresses

    

   How a person presents themselves can be very important in expressing their gender identity. But this presentation isn’t just donning some fine heels or a suit and tie. It is about how a person carries themselves, speaks, acts. Most of all it is about showing how they feel and wish to be treated.So if you have any plans to write a Trans-woman who loves dressing up, remember that she is so much more than what she wears. Her identity is about more than her clothes. It is about who she is and how she wants to live her life. Same applies for Trans-men and non-binary people. Layers, people. Lots and lots of layers of personality and expression.

   ~

10. Avoid offensive language

     

    I can think of so many slurs but I’m not going to put them down on this blog. You’ve definitely heard your fair share of them thrown around everywhere from alleyways to the evening news.How you refer to people is important. Of course you can choose to use slurs if your character is being harassed or something like that. But don’t go using terms like that if you aren’t using them for the express purpose of being offensive. What I mean is that words like Tr*nny are not an appropriate way for you (the author/narrator) to refer to your character. Leave the assholey behaviour to your story’s assholes.
    ~

11. Treat your LGBTQ+ characters with respect

     

    LGBTQ+ characters tend to get thrown to the dogs a lot. There are so many instances of queer characters being killed off that it has become a well documented trope. Now, I’m not saying you can’t kill your LGBTQ+ characters, but you should really consider if it is really necessary or beneficial to the story.Also- not every queer character needs to have been horrifically traumatised. Yes, rape, assault and other horrors do affect LGBTQ+ people (and often) but your LGBTQ+ character doesn’t need to have been harmed. In fact, it is probably better if they haven’t been horribly harmed because a happy and healthy queer character is a much more comforting thing to read about, especially when we live in a world where LGBTQ+ people are being grossly mistreated so frequently. Yes, it is important to address the high levels of assault, rape and murder that affect the LGBTQ+ community but non-violent portrayals are equally important.
    ~

12. Get to know your terminology

     

    Research. Research. Research.
    Don’t know what Genderfluid means? Look it up. Know what you’re talking about so you can do the best darn job you can of bringing your LGBTQ+ characters to life.
    ~

Here are some genre-specific points:

In Fantasy and Sci-Fi

1. The way that LGBTQ+ characters are treated in your world shouldn’t just be a copy-paste of (a) Ye Olde days, or, (b) 21st Century Western society

    

   I’ve already ranted a bit about how we need to normalise and include queer characters in Fantasy and Sci-Fi here. But let’s expand on that. Often the rule of thumb seems to be that medieval-fantasy setting= homophobia and misogyny. Basically a lot of writers tend to copy-paste the social norms of the time period they base their setting on. But why? Why should a fantasy world operate under the exact same rules and patriarchal codes as our world?Fantasy offers writers a chance to create something that is different to our world. That’s the point, isn’t it? So why go through all the effort of creating an interesting world with magic or dragons or what have you only to make everyone act like a bunch of European peasants? Or 21st Century western people for that matter.

   Fantasy and Sci-Fi settings shouldn’t automatically operate by the same codes as our world (past or present). Maybe your LGBTQ+ characters do experience discrimination. But maybe they don’t. I, for one, would find the latter far more interesting.

In Romance

1. LGBTQ+ relationships are not all that different to Cis-Het relationships

    

   Yes, there can be drama and struggles to get parental approval and all that. But is that really that different from a non-queer relationship? All relationships have their ups and downs, their complexities, their dramas. Keep in mind that, at the end of the day, queer relationships operate on the same foundations of trust, support, honesty and intimacy.

   ~

2. But they also have their own unique struggles and quirks

    

   Depending on where your story is set your queer characters will encounter different issues in their relationships. Some of these may include insecurity about their sexuality, their body or their identity. Being accepted and loved can be a challenge for some, and often for LGBTQ+ people those struggles are multiplied thanks to discrimination.
   ~

3. M/M relationships are not a matter of ‘tops’ and ‘bottoms’

    

   Just like in heterosexual relationships there can be variation in how couples choose to engage in (and out) of the bedroom. Sometimes one partner is more dominant than the other or chooses to take a submissive role. But those roles can be reversed over and over again in the same relationship.That and gay couples are not always composed of one really macho dude and one really feminine guy. Seriously, that’s such an overused stereotype.
   ~

4. F/F relationships are not a matter of ‘Butches’ and ‘Femmes’

    

   In the same vein as with m/m relationships, lesbians aren’t just labels of ‘butch’ or ‘femme’. Like all human beings they come in all shapes and sizes and form relationships with other people of all shapes and sizes. Some might be more masculine, some more feminine. But there is no set dichotomy of butch/femme. These terms like butch, femme, top and bottom are getting kind of outdated, don’t you think?
   ~

5. Trans and non-binary people can have loving and sexually satisfying relationships just like everyone else

    

   Not fitting the gender binary does not doom a person to eternal loneliness. Love is for everyone and non-binary and Trans people have just as much of a right to enjoy loving and satisfying relationships. They may face struggles along the way, but be sure to give your characters the chance to love and be loved.
   ~

6. DO NOT fetishise LGBTQ+ characters

    

   Just don’t. Okay?
   Trans-women are not objects. Lesbians are not here to entertain straight men. Stop all that crap right now.
   ~

7. If you write about sex- do it right!

    

   It may surprise you that a penis cannot simply slide into an arse without a little *ahem* assistance. Do your research if you don’t know how different people do the do. Seriously, I have read more than enough ridiculously ill-informed sex scenes (of every inclination).
   ~

8. Gay and Bisexual people are not all promiscuous

    

   I already said it but I’ll say it again. We are not all a bunch of leather whip wielding doms or ultra-horny Casanova types who seduce anything with a pulse.
   ~

9. Polyamorous relationships are often neglected or over-simplified

    

   Polyamorous relationships seem to get excluded from fiction pretty often. When I say poly relationships I don’t mean gang-bangs. I mean relationships. People living together, loving together and building families together. Poly relationships can be just as healthy and satisfying as any other relationship so let’s see some in fiction please. 

   

   Remember: Diversity is important

   That’s it, folks! I hope it gave you some kind of an idea of how you should and shouldn’t approach writing LGBTQ+ characters. Keep in mind that all of these points are my own opinion and, being scraped straight from the mayo-jar and sprinkled with bisexual fairy dust, I am by no means the number one voice of diversity. Some queer people may disagree with me on some of my points. And that’s fine too.

   Just remember that writing queer characters isn’t scary. You can do it. You should do it. But you should do it with an awareness of how representation influences society. Write complex characters and remember that to be queer is to be more than just a label.

   Now off you trot and give it your best go!

 

 

[All Gifs from Gifs.com]

 

 

Story: ‘Fools for Thought: An idiot’s monologue’

This piece was performed at the Speakeasy Flinders Wheatsheaf event in June 2016. It explores the perspective of a very minor character from my novel ‘The Bleeding God’. 

 

There’s nothing wrong with having a crush on your hunky captain

A shadow streak across the deck does not escape my watchful eye.

Nor does the subtle lover’s knock upon my captain’s door,

The click of that same entrance as it admits this foul visitor.

From my post at the helm I do hear them every night.

 

Below the boards at my feet,

The sounds of deception this thin-lipped cretin does emit.

I know not how the man does ensnare my captain so,

Witchcraft it must be.

He has taken the darkness as his cloak and now the captain’s bed is where he stays.

Not a sailor nor a soldier is he.

 

I know not from where he hails, save for that which is marked by his hateful race.

Did he climb from the cesspits of old battle fields?

This strange and sinister thing,

Once a mere pustule on the face of humanity,

Now a mastermind of a dark and mysterious kind.

So small yet so cunning.

He has my captain coiled round his finger,

 

And for that he must be my sworn enemy.

That he could lead such a great man as my captain to folly- I cannot comprehend it.

Yet, even in this troubling time,

When my captain falls from grace and leads all of us to sin,

I think dearly of his merits.

 

A warrior of great quality is he.

No better hand with a sword can be found in all these seas.

Noble is he too, from the fair line of Lonant- all officers with sea in their blood.

No better leader could there be than a Lonant.

 

And I, this wretch risen to serve him,

Have watched him grow into his power and his wisdom by degrees.

In battles together we fought, battles that forged him into the captain he is this night.

Even drenched in our foe’s gore he could stand proud and regal as a king.

 

And I, wiping blood from my eyes would be enraptured by his grace and strength.

One look at a captain such as ours could inspire any man, even one close to death, to fight with all his might.

For our captain we would gladly die.

For his honour we would gladly kill.

 

Oh, but how my captain fails me now,

How many battles have we fought, he and I,

Side by side, swords drawn and gleaming red with the blood of our common foe?

 

And now it is that enemy race whose blood we so readily spilled with which he spends his nights!

The groans of pain he once inflicted are now cries of another kind.

And that which he now embraces below my feet,

Is black of hair and black of heart.

 

Had my captain brought upon this ship a vulgar whore to bed, it would bring less offence.

Faced with this rampant sin,

I know not what to do.

Do I hold onto my honour as a sailor?

What honour is this?

To act the third in this nightly consummation of depravity?

How can I be my captain’s judge?

How can I not?

 

Oh, I will not claim to be a pious man, to the gods I have greatly sinned in the past.

It was this captain of mine that raised me from the dredges and made of me an honest man.

For thievery I paid the price, for temples did I pillage.

And for that sin a lifetime would I be held at sea.

 

I was then a simple man, a fisherman’s son turned to sin by fate most unjust.

But my captain did pity me so, and an educated man did he make of me.

For that I owe him fealty.

He who saw me not for my flaws but for what good and honourable service I could give.

 

How then can I be his judge?

How can I turn and spit in the face of the man who made me honest?

Gods, I know what you would say to me if you had voices to speak.

You would tell me that which I already know.

That I must shake the evil spirits from this vessel,

That I must drive that black-heart from his undeserved perch.

 

But,

To drive my blade through a sinner’s ribs would earn me scorn with the captain.

He would then cast me from his service, make a beggar of me once more.

What would I be?

Would I be a beggar or a fishes’ meal?

Much as I know that the captain’s lover is evil,

So too do I know that to kill him would put the captain in a violent rage.

His delusions of infatuation will not immediately evaporate.

 

His mind’s sickness will prevail for some time until the elements may cleanse him of it.

But not soon enough to spare me.

What then is my duty?

To my captain?

To the gods?

Or to myself?

 

Oh pray, my blood boils with unfettered rage to hear that wretch gasp now.

My hand, it quivers above the hilt of my cutlass,

And it is with cold duty that I refrain from drawing it.

Now I could abandon my watch and my honour.

I could wait beyond the captain’s door and when the trickster steps out of comfort,

Into my blade may he wander.

 

I stand upon the cusp of sin once more.

But I wish not to have more bloodied hands, I wish to serve the man I exalt.

But even a hero such as my captain, is infallible, mortal, just a man.

Much as I wish to see him in glory and grace,

His honour is besmirched by this nightly disgrace.

 

And I must serve some manner of justice,

Though I do not know if I can do this.

Shall I listen some more?

Shall I stand by and endure this black-hearted whore?

Yes, so it seems.

Tonight, it shall pass.

And I, for my captain, shall ponder this task.

 

Death, it will come.

But not now.

When backs are turned my blade shall find its mark.

One day soon I shall put an end to this sinner.

Forgive me captain, but I am still honour bound.

Justice and faith command my judgement.

To free you I must wound you sorely.

But would I be an honest man if I did not do as justice commands?

Dear Fantasy Writers…

Are you writing a fantasy book? Maybe a thousand all at once? Well, listen up- here’s some things we need more of (and less of) in this wonderful genre.

~

I should start out by saying that so, so many other writers have written posts like this (the first one I can think of off the top of my head is this one by J.R. Koop). But I don’t think that should stop me from chucking in my two cents about what we need more of in fantasy. So let’s get started!

~

Fantasy books are great- but they could be even better

 

Please give me more:

1. Diverse casts

Where are the POC characters? A lot of the time the main cast in fantasy books are suspiciously all-white. Other times the POC characters remain on the sidelines, playing the roles of minor or supporting characters. This isn’t necessarily a super bad thing but we definitely need more fantasy books that incorporate characters from diverse backgrounds.

 2. Queer characters

Again, J.R. Koop has covered this beautifully but I’m going to push it as well. Let’s have more queer characters! Why? Because it can be great to have characters you can relate to in terms of your sexuality/identity, etc. We should normalise queer characters in fantasy books. Not only is it great for queer readers to have characters that are like them- or show that it is totally fine to be queer- but its also nice to have more than just straight couples in stories.

Also- can we have some fantasy stories that show polyamorous relationships in a positive light? And stories that chuck out all the old stereotypes of the effeminate dandy gay man?Or the ultra-butch lesbian? Or the invisible Bisexual?

3. Complex women

Fantasy has been called out plenty of times for sexist portrayal of women. It isn’t just the skimpy armour or damsel in distress cliché that deprives women of meaningful roles in fantasy. It also comes down to the setting. So often fantasy stories cut-and-paste the social norms of medieval Europe. When that happens we see our hapless female heroes having to claw and fight their way to power. Yes, women fighting oppression and proving their worth in ‘a man’s world’ can be a great and empowering read. But it just happens so. damn. often.

Fantasy is such an amazing genre to read and write because it allows the reader/writer to explore worlds where the rules of our own world do not have to apply. So why is it that we can have dragons and talking trees and goblins that fart fire, but not a world where women aren’t subjugated?

I want to see more stories where the female characters can start off confident in who they are. Where they can start their quest for the magical turnip- or whatever- without having to cut all their hair off and learn to be so macho they could grow a beard (Terry Pratchett satirised the cross-dressing heroine storyline really well in ‘Monstrous Regiment‘- which I do recommend). Let women wear dresses and still kick ass. Let them have a chance to do things without having to act like their male companions.  We can have women who are super tough and buff as hell, but don’t only have women like that. Have women of every shape and size, every age and race- make them like the male characters by making them people.

4. Characters who are not ridiculously beautiful

Looking at you Sarah J. Maas! I get that we love men whose abs could grate cheese or ladies who look so fine in a dress that men fall to their knees to worship them. But when every damn character is angelically gorgeous it gets ridiculous. Not only that, it can be really alienating to people who aren’t supermodels (so, like, the majority of human beings on this earth). Make characters who are average, or beautiful in ways that are not over-the-top homages to gods and goddesses. Have characters with beautiful personalities. Have characters who are considered ‘ugly’ by the people around them but still find companions who love and cherish them for who they are.

Moreover, instead of these flawless, perfect creatures- why not have characters who don’t fit such such a strict idea of what is ‘beautiful’. Like characters with disabilities or who do not fit the mould of ideal weight, height, etc.

5. Characters who are not OP

So your main character can summon fire and turn into an eagle and they are the best sword-master in turnip-land and descended from the gods and… you get the point. Every time I see a protagonist who is so powerful and ‘special‘ that they can defeat the villain with the snap of their fingers I feel like pulling my hair out.

Why does the hero have to be the ‘special snowflake‘? Maybe they do have some cool powers or skills, that’s fine. But they should still be challenged by the things they go through in the story. Having them breeze through every battle without a scratch is just not engaging. Plus, it is extremely overdone.

Need I say more?

6. Characters who aren’t the Chosen One

The chosen one trope needs to die out. Or at least get endangered. Or evolve into something new and interesting. Besides, what’s wrong with ordinary Joan McJohnson deciding she wants a shot at saving the world because she wants to, not because she was chosen by the gods or spirits or fate to do so?

7. Organic Worlds

Has your fantasy world been stuck in the Dark Ages since the dawn of time? Do the visions the characters have of their world 1000 years in the future still look like a set from BBC’s Merlin?

Imagine if our world had never changed? If we were all living in the middle ages, forever dying of diseases because no one went out of their way to develop a cure? Or having 20 children each because no one had figured out the whole birth control thing? It would suck, wouldn’t it? Good thing the world is constantly changing as people discover new technology and develop new social customs.

There’s no reason a fantasy world shouldn’t be the same. If you’re writing across centuries, let your world change and develop. Maybe your characters learn to develop electricity or cars or effective medical practices. Worlds that can change and grow are interesting, allowing for something new to be brought to each book in the series.

8. Non-Medieval/Non-European settings

Why are so many of the societies shown in fantasy based on medieval Europe? There are so many different cultures and time periods to explore. Plus, why just copy-and-paste a culture or time period when you can create your own?

Try making something unique- mixing different cultures, eras and customs together to make something that will leave the reader fascinated.

9. Romances that aren’t a Love Triangle/One True Love 

YA fantasy seems to be the biggest offender here. If there is a female main character you can pretty much expect her male companions to drool and fight over her. Like she’s some kind of trophy to be won. Which, let’s admit, is pretty damn sexist. On top of that, the love triangle has been done to death. And maybe, just maybe, our protagonist is not god’s gift to men/women. Or- they don’t have time to waste on figuring out ‘which hunky man/beautiful woman do I truly love out of these two companions?‘ when they have a world to save.

And then there’s the ‘One True Love’ type romantic subplot in which the protagonist and their companion were destined to be together. Fate itself has made it that they will never love anyone else except this one person, who probably popped their cherry. Because, you know, losing your virginity is such an important thing that we need to dwell on and show as a mark of true love- because that’s normal.

What we need more of is characters who can fall in love and break up. And then, if they want, fall in love with someone else. They can move on.

When it comes to the female characters there should also be a chance for her to have sex with as many, or as few, men/women as she wants. None of this- she’s saving herself for Mr. Right, or her virginity is sacred crap. Seriously, if the male characters can run around planting their cocks in every woman they meet, why can’t the woman enjoy herself too?

And finally… 10. Writers who take risks

Try something new, something different, unique, something that you can have fun with. Don’t just take the safe path and stick to a classic plot line. We have plenty of quests to destroy jewellery, or defeat a dark lord. So if you have an idea that is different- write it. Be proud of it and give readers something new to sink their teeth into.

Excerpt: A Bloody Banquet (BQ Collab with Brodie Smart)

I don’t always write alone, in fact I seem to collaborate just as much as I work solo. Over the years I have written quite a lot with the quirky Brodie Smart. Our biggest works have included a m/m romance novel, several bizarre audio-tales and not one but two mash-up novellas. It is from the first of these mash-ups that the following excerpt comes. I wrote this scene and performed it at Speakeasy in September. The character ‘Alek’ belongs to Brodie Smart. 

~Excerpt published here with B. Smart’s permission~

*

‘Do pardon the delay,’ said the emaciated man. ‘A good cut of meat is best served after it has had ample time to marinate in its own juices.’

Shore’s stomach gave an involuntary clench at the comment. He glanced at the glass full of blood on the table in front of him and shuddered. Bloom had his fist clenched beside his plate but at this point the blood on the table had soaked through his sleeves so Shore had no way of telling where the dead man’s blood ended and the sorcerer’s began.

What is fantasy without a bit of blood and swashbuckling?

Then there was Alek, fingering the silverware as if considering some other way of using a spoon. Shore himself was still trying to figure out how they would get all these prisoners out of here alive. One was dead already and served as a warning to the three of them. The emaciated man wasn’t afraid to kill every last prisoner if need be. Shore could only hope it wouldn’t come to that. A bell rang. The emaciated man clapped his hands excitedly.

‘That must be the cook now! And not a moment too soon, I must say I am absolutely famished.’ As he spoke the hollows of his cheeks seemed even clearer as if he was getting sicker for every moment that passed. ‘Tamas, go open the door for the cook.’

Tamas got shakily to his feet and went to the door, pulling it open with a creak. To his side Shore saw Alek tense, he was ready to move the second things took a turn. The cook appeared, rolling in a serving table draped with a white cloth. But it was no conventional serving table, it was too large. It looked more like the examination table one might find in a morgue. Shore bit back a surge of queasiness. The cook was a woman, perhaps beautiful, but definitely a far cry from the near-dead guests. She gave them all a bow and departed. Tamas closed the door in her wake. Shore couldn’t help but notice that whatever was underneath the sheet was squirming, and as it did the white of the cloth changed colour, blooming with crimson.

‘Before we begin salivating at this delightful meal,’ the emaciated man announced, standing and holding his glass up. ‘I propose a toast.’ Everyone around the table quickly grabbed their glasses and raised them. ‘To which god shall we dedicate this meal?’ the man asked. ‘To Brika, god of harvest? To Nowrilil, goddess of fortune? Or-‘ And here he paused, his eyes burning into the front of Shore’s coat as if he could see his heart throbbing in his chest. ‘Perhaps we should dedicate it to Doha, the goddess of mercy.’ The emaciated man grinned. ‘Yes, I think that will do nicely. To the goddess of mercy!’ ‘May the Mother protect us!’ Everyone said. Shore’s chest tightened. ‘Tamas, if you would, please?’

The emaciated man gave a nod and took his seat again. Tamas was shaking so badly he could barely grasp the cloth. After a couple tries he managed to get a hold of it and dragged the cover free. The guests immediately averted their eyes. Shore would have too but he was transfixed in horror. Curled up on their belly on the serving table was a young man, his whole body streaked with blood, his eyes wide, his mouth open and trembling. One hand gripped the side of the table, knuckles visibly white where they weren’t smeared with red. The other arm was clutching their belly and in some small way trying to cover up their nakedness. The horror of the sight only increased tenfold when Shore realised who this was. The man lying bleeding on that serving table was Darago, Ladiginn’s missing brother.

‘Isn’t it just lovely?’ The emaciated man asked. ‘A very rare find in this day and age. To think that once you could walk into any shop in Greater Darsa and find one just like this. Ah, but gentleman, don’t let its rarity keep you from enjoying it. One must remember that such commodities are said to bestow good health and long life. Tamas, would you be so kind as to bring the table over? And then do sit down, you seem so weary.’

There were tears streaming down Tamas’s cheeks as he pushed the serving table over to the emaciated man. The man took up his butter knife and brought it up to Darago’s face. Shore reached for his sword hilt. Bloom shot him a warning look. The emaciated man scraped the butter knife against Darago’s face, taking off some of the blood that sat congealing on his skin. Darago was shaking and Shore could hear how heavily his breaths came. Yet he did not struggle. It was as if something kept him rooted to the spot. He still managed to cringe as the man took the knife away.

‘Makaille,’ the man said to another of the prisoners. ‘The bread.’

Makaille, a big and muscular sailor, grabbed a basket from across the table and passed it to the emaciated man. The man took a small slice of white bread from the basket and spread the blood across its surface. He held it up then took a bite. He chewed it slowly and thoughtfully, as if tasting a complex cheese. Once he had swallowed he put the bread down on his plate, picked up his napkin and dabbed at his lips.

‘It turned out splendidly,’ the man said. ‘You simply must try it, Captain Shore. Really, I insist.’

He had to do something. They couldn’t just carry on with this cruel game. These people’s lives were at stake, Darago’s life was at stake. Shore gave Bloom another look. The sorcerer nodded almost imperceptibly. He gave the same look to Alek, the assassin already had a blade in his hand, hidden just under the tablecloth. If only he could tell them what to do. But no, he would just have to trust his companions. The prisoners were their priority. Shore got to his feet, drawing his sword. He approached the serving table, keeping his blade low at his side. He could hear Alek get to his feet behind him. He could see Darago’s pleading eyes staring at him. Saw him try to shape words but not find the strength to voice them.

‘A rather uncivilised device to carve the meat with,’ the emaciated man commented dryly, taking another bite of his bloody bread slice. ‘Make sure you don’t cut yourself.’

Shore raised his sword, letting it hover above Darago’s shoulder. This was it. The emaciated man should be playing his last hand right about now.

‘Go ahead,’ said the man. ‘Cut yourself a nice. Big . piece.’

Shore took a deep breath. The smell of blood filled his senses, making his head ache. If the man wouldn’t play his hand then Shore would force it. He turned on his heel and slammed his sword down onto the emaciated man’s skull. There was a dull crack as the steel hit bone. The man’s smile slackened, his eyes blurred. Shore wrenched his sword free and the man fell face first onto the table, the contents of his skull spilling onto the plate.

‘No!’

Shore froze. It was Darago who had shouted it.

‘What have you done?’ Darago cried. ‘You have to get out! You have to-‘

Darago’s mouth hung open but no more sound came out, as if his voice had been ripped from his throat.

‘Darago?’ Shore put a hand on his shoulder and shook him. Darago was frozen to the spot but still breathing, back in the half-concious trance that he had been under before the emaciated man had died.

‘You shouldn’t have done that.’ It was the man’s voice. Shore turned to look at the prisoners. Tamas was looking straight at him, his eyes no longer wide and teary but sharp and dark.

‘Is that all you’ve got to offer, Captain Shore?’ Tamas asked. ‘How many innocent lives have to end before you give up and accept that you’ve been outsmarted?’

Shore looked back at the emaciated man’s body as it lay lifeless in its seat. He turned to Alek, the assassin stayed close, his weapon still in his hand.

‘What the fuck do we do now?’ Alek hissed. Shore looked at Bloom. The sorcerer hadn’t moved from his seat. Why wasn’t he using his magic? Tamas must have noticed where Shore was looking. He grinned and Shore noted that his teeth were now stained red.

‘I’m afraid your sorcerer friend will be of no help to you. He knows better than to say a word, if he wants to keep any control over his own body. Yes,’ Tamas grabbed hold of Bloom’s arm and pulled his fingers apart. The curse mark was red as a flame against the bloody mess of his palm. ‘You see, the ingenious thing about these marks is that the very threat of the control I can impose through them is enough to make people bark at my command. Isn’t that right, master sorcerer?’ Bloom was grimacing, obviously in a great amount of pain. So he was stuck, unable to act lest Tamas- or whoever this puppet-master really was- took full control of him.

‘Now, I’ll say it once more,’ Tamas said with a gentleman’s humble smile. ‘Please, sit.’

 

You can follow Brodie Smart on twitter, wordpress and wattpad

 

 

 

 

 

 

 

 

 

 

 

 

Shackling Oneself to a Keyboard: ‘A Monstrous Bloom’ as an exercise in commitment

If you’ve been following my constant updates on Twitter lately you’ll know that I’ve launched a WIP fantasy novel on Wattpad called ‘A Monstrous Bloom’. The story is ongoing- updated by chapter weekly or bi-weekly. But why have I chosen to undertake a project like this and what does it mean for my other work?

 

What is ‘A Monstrous Bloom’?

‘A Monstrous Bloom’ started as a side story I wrote solely for fun. It is really the prequel to a larger planned project about magic, sorcery and anti-magi. I wrote the first three chapters in an attempt to get a better grasp of one of the secondary characters of the bigger project. This character- known here as ‘Enigma’- is a Shaker, a monster created when two volatile kinds of magic are mixed.

The story follows Enigma’s journey from a monster, an ‘it’, to a fully fledged individual whose imagination and passion defines them. The events of the story also foreshadow the main plot of the planned ‘big’ project.

Why start publishing an unfinished work?

The aim of writing ‘A Monstrous Bloom’ is to improve as a writer. While working on my main novel (‘The Bleeding God’) I’ve often found myself tearing my hair out thinking ‘I’m not ready to write this book!‘. I’ll admit it- I’m still quite new to the novel writing game so my skills have a long way to go before they can be considered appropriate to tackle a High Fantasy Epic Quartet. A good way to work my way up to that level of skill and discipline is to practice. ‘A Monstrous Bloom’ gives me a chance to stretch the writing muscles, do something less serious and more fun and it will (hopefully) teach me how to better approach my main novel.

I got the idea of publishing a draft novel chapter-by-chapter from the lovely and talented Simone Corletto. She is doing the same with her work and the aim is to get feedback and some dedicated readers. Which is always the best thing for a writer- especially one who is emerging and doesn’t have a loyal following already (like myself).

 

Is the main project still go?

Of course I’m not going to stop writing ‘The Bleeding God’- it is my biggest project and I won’t let it sit collecting dust. I won’t be working on it a lot but there will be work going into it between everything else. I think it is better to spread myself all over the place at the moment, if only to build my skill set and my readership. There is no real hurry to complete TBG. I tell myself this because I want this book to be the best it can be. I would rather write many different short stories and novellas before I unleash the main course. In this modern era it isn’t unusual for a writer to work on multiple projects at once. Though many in the industry decry the practice as an awful idea, I think there is value in doing more than one thing at once for several reasons:

1. It allows you to try new styles and genres
2. Producing smaller pieces allows you to gain a readership while you work your way up to your first big work
3. Skill building is a never-ending job for writers so all writing is beneficial to getting those skills up
4. Sometimes taking a break from something you are struggling with gives you a chance to come to terms with it and approach it later with a level head- and right now I need that clarity to nail TBG
5. Feedback! A WIP work is still raw- the readers can give advice on how to clean it up and polish it into something even better. I’d rather chuck out a WIP of something that isn’t as precious to me as TBG
6. Realistically, established writers have to write a lot of different things, often within restricted time periods- best to get some practice in now!

 

Commitment matters

Anyone who knows me well knows that I am renowned for my ability to take on a million projects only to abandon them later. So will this happen with ‘A Monstrous Bloom’? I’ll be honest- I can only hope I don’t give up on it. I do, however, have some hope that by making this an online journey I will have more reason to keep going. It is far harder to keep motivated when you are working on something solely for yourself. Better to have readers who expect content- I hate to disappoint people. Really, only time will tell the outcome of this project but if it succeeds I think I will come out of it with a lot more commitment to writing.

 

You can read ‘A Monstrous Bloom’ here: https://www.wattpad.com/story/85849233-a-monstrous-bloom/parts